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Svár starého a moderního v habsburské monarchii 19. století: císař František Josef I. a jeho středoevropské (a české) dědictví

100%
Rak J.
Slovanské historické studie (Slavonic Historical Studies)
|
2006
|
issue Sp. Ed.
5-18
EN
In as early as the 19th century, the Austrian Empire was the symbol of conservatism and reactionism in the eyes of European as well as Czech liberals. Was the Austrian monarchy thus on the path to modernity in as early as the 19th century, or was it the chief guardian of traditions and old orders? The experience of Joseph II's reforms rooted an aversion towards excessive radicalism and revolutionary solutions and a peaceful course of gradual reforms met with success. We inherited an aversion to professional politics run by parliament from the monarchy. With this we can also explain the sympathy that a significant part of the public has towards governments comprised of specialists. The monarchy's legacy also consists of an exaggerated respect towards the heads of state, in the Austrian Empire, Czechs also learned to live with other nations in a joint political territory. The ruling elite made no effort to develop patriotism in the Austrian Empire and counted solely on dynastic loyalty. It was the absence of feelings for all of Austria that allowed the resulting vacuum to be filled with particular (often intolerant) forms of nationalism.
2

Jerzy Kawalerowicz's 'Night Train', or Speaking With His Own Voice

100%
Rak J.
Kwartalnik Filmowy
|
2007
|
issue 57-58
92-102
EN
In the opening remarks the author recaps theses related to the term 'Polish school'. He argues that the films covered by the term (by Andrzej Wajda, Kazimierz Kutz and Andrzej Munk) gained success and enjoyed popularity because the vision of the world proposed by the directors generated meanings (that were significant in given circumstances) and because it touched upon major national identity-related issues. According to him, the impact of 'Polish school' films was in fact much stronger than the critics claimed. Jerzy Kawalerowicz's 'Night Train' is placed against the backdrop of these films and examined from a few points of view. The author notes, among others, that Kawalerowicz could afford to give up war issues only after he presented another cinematic formula. 'Night Train' is not about the war or its consequences. In generic terms, film has completely amorphous form, is a kind of hybrid in which patterns of a thriller, crime film and melodrama intertwine. Analysing its scenes, relations between the characters or acting method (of Zbigniew Cybulski), he comes to the conclusion that Kawalerowicz distanced himself from the Polish school to claim the right to speak with his own voice and make films his own way.
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